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The Sonata Form and Its Use in Beethovens First Seventeen Piano PDF
The Sonata Form and Its Use in Beethovens First Seventeen Piano PDF
DigitalCommons@USU
5-1965
Recommended Citation
Hammond, Kathryn, "The Sonata Form and its Use in Beethoven's First Seventeen Piano Sonatas" (1965).
All Graduate Theses and Dissertations. 2819.
https://digitalcommons.usu.edu/etd/2819
by
Kathryn Hammond
of
MASTER OF ARTS
in
Applied Music
1965
ACKNOWLEDGMENTS
with my r ec i tal.
~#~
Kathryn Ha mmond
TABLE OF CONTENTS
Page
INTRODUCTION .
Sonata-Allegro Form . 12
Other Sonata Movements 14
Early Sources 19
Carelli and The Violin School 21
Bach and Handel 23
Scarla tti . 23
C. P. E. Bach 24
Haydn and Mozart 24
Beethoven 26
LITERATURE CITED 41
LIST OF TABLES
Table Page
piano literature, perhaps in a ll musical literature. It has been said that if the
the gayest to the saddest, from the most humorous to the most sublime. Each
sonata is a work of art in its elf and is different from every other one. Each
presents its own array of thoughts and emotions . Although he generally fol-
lows the s e t pattern of the sonata form , Beethoven continually presents some-
family , and the conditions in which he lives . Following this, I shall give an
outline of the sonata form as it was used by Beethoven, and a short history of
BEETHOVEN'S LIFE
father was born. Before reaching the age of twenty, the elder Beethoven
rie d a woman, Maria Poll , who drank excessively, a problem which recurred
in her son Johann . Johann became a musician also, though he was not as
Johann and his wife Mar ia-Magda lena had six children , three of whom
reached maturity. Ludwig van Beethoven was born in Bonn, most probably on
carry a mistake of two years, probably because his father falsified his age in
Beethoven's childhood was a rather unhappy one. His family was poor
and his e duc ation was quite limited in fields other than music . His father was
his first music teacher , a nd Johann soon recognized the genius in his son, so
he hired more qua lified teachers , Van den Eeden, followed by Ffeiffer .
appointed assistant organist of the court band . The elector at this time wa s
Max Friedrich , and Beethoven dedicated three ear ly sonata s to him. In 1784,
Max Friedrich was succ eeded by Max Franz, who was greatly interested in
About 1787, Beethoven made the acquaintance of some rich and culti-
vated people who were to remain friends to him until death . These were the
Breuning family and Count Ferdinand von Waldstein. Waldstein's name is now
familiar mainly because of the great sonata, Opus 53, which was dedicated to
him by Beethoven. Frau Breuning was almost like a second mother to Beetho-
ven, a nd her children, Stephan and Eleanore , almost like a brother a nd sister
Also during the year of 1787, Beethoven made a trip to Vienna, where
he met and pl ayed for Mozart, whom he quite impressed, but whose own
protege, Hummel, was more of a prodigy than was Beethoven. Afte r a few
months , Beethoven returned home to see his mother who was gra vely ill and
who died within a few weeks. Following this, his father began drinking more
the family.
Elector to Mergentheim. This was a very pl easant trip down the Rhine River.
On the way Beethoven met a famous pianist, the Abbe Sterkel, and improvised
the Elector to help him financially. Count Waldstein wrote to him as he de-
parted, "Receive, through unbroken industry, from the hands of Haydn , the
spirit of Mozart. ,3
many of the influential people , and with roya lty , the principle among which
and Kinsky. Another life long friend whom Beethoven met at this time was the
Baron von Zmeskall. Within a month after his arrival in Vienna , Beethoven
received news of his father's death. This made him now the guardian of his
successful as both might have wished. Haydn let many mistakes in Beetho-
ven's exercises go uncorrected, and when Beethoven discov ered this, he was
very displeased and arranged to study secretly with Schenck at the same time.
3Rudall , p. 33.
5
Beethoven was on his own financially by this time . The pension from
the Elector had ceased when the French entered Bonn. He published his
Opus 1, three trios, and gave lessons to support himseif. His Opus 2 was the
apothecary.
Musically Beethoven's success was due mainly to his great talent for
improvisation. Yet he often refused to play when he was asked . He lived for
a time in the home of Prince Lichnowsky , and enjoyed the company of nobility
compositions . Yet, though great favor was shown to him, Beethoven liked to
do things in his own way, in his own time . Often he l eft just as dinner was
Beethoven was in love several times in his life , but never married .
Another of his interests was Giulietta Guicci ardi , young girl to whom Beetho-
ven dedicated the "Moonlight" sonata, Opus 14, number 2. Many biograph ers
believe that it was to her that Beethoven wrote his famous l etter to the
tioned it two years later in a letter to a friend . From this time on, he tried
many cures and visited many doctors, but to no avail. His hearing would grow
better, then worse again. He was afraid to mention this hearing d feet to his
friends bec aus e he fe lt that he, mor e than a nyone else, should have excell ent
hear. The cause of this loss is unknown, but is thought by many biographers
One of these contests was with Steibelt in 1800. At this time Steibelt had pre-
so he took up a 'cello part from a quartet of Steibelt 's, turned it upside down ,
and improvised so well that Steibelt left the room. Steibelt never again played
in Beethoven's presence.
Vienna. The summer of 1802 was spent in Heiligenstadt. It was here that the
which was found after his death, Beethoven poured out his heart and gave
words to the fee ling that his deafness was cutting him off from society. He
left his effects to his brothers and gave them a dvic e on how to live better lives.
This was probably the low point of Beethoven's life, a time of illness and
gloom .
5schauffler , p. 50.
7
But soon after this docum ent was written, Beethoven was again in
Vienna, in better spirits. He spent his time composing, dea ling with pub-
lishers, and in many socia l engagements. His only two professional students
at this time were Ferdinand Ries and Karl Czerny.6 Throughout all his life,
Beethoven was now living with his old friend Stephan Breuning, but
they had a n argument and parted for a time . Before long, however , they made
But afterwards, Beethoven was always very sorry, and apologized profusely,
was not a success. Mter being reduced from three acts to two, it was per-
formed again in 1806, and was not seen again in Vienna until 1814. At this
wrote the sonata, Opus 57, the "Appassionata. " In September of that year
and since he was thus threatening to leave Vienna and take this post, three
6 Pryce-Jones, p . 49.
8
friends, the Archduke Rudolf, Prince Lobkowitz , and Prince Kinsky , jointly
By 1810, his career as a virtuoso was over, due greatly to his heari ng
difficulty. From this time on , Beethoven seems to have been increasingly un-
his physician. However, this same year, he met Bettina Brentano, a girl of
twenty-two. She was a strange sort of girl, yet Beethoven was attracted to
her . It was through her that Beethoven met Goethe. She later published three
letters to herself from the master which most authorities believe to have been
bow to the Imperial family, while Goethe did bow. Two other of Beethoven's
l ady friends were Amelie Sebalde a nd the Countess Erdody, the former being
later they shared living quarters, with Schindler acting as a kind of secretary
and general assistant.S And in this year, Beethoven's old friend, Prince
Lichnowsky, died. An exciting event for Beethoven shortly after this was
when Vienna paid him a special honor with a concert and freedom of the city.
7Rudall, p . 100.
8Ibid. , p. 116.
9
guardian of Karl's nine-year-old son, Karl , along with the boy's mother. In
brother's wife, and now he began a four-year lawsuit to gain sole custody of
the child. He finally won the case on grounds of Frau van Bee thoven's unfaith-
fulness. Beethoven was truly not fit emotionally or physically to care for a
child, but he did love the boy and in his awkward way tried to do his best.
However, he expected too much of the boy, and Karl became very unhappy,
not having the talent or the ambition to follow in his uncle 's footsteps. Shortly
before Beethoven's death Karl even tried to commit suicide . Beethoven spent
his own badly-needed money on Karl, yet he was not able to teach him or to
raise him in the way that he would have wis hed. All of this made Beethoven's
who destroyed some of them and sold the others, 137 of them, to the Berlin
Library.
1819, and Beethoven said of it, "Just now I a m writing at a sonata which shall
be my greatest. ,9 Two more sonatas were written after this one . The great
9schauffler, p. 360.
10
later, in 182 3.
Symphony were fir st performed. Beethoven had long intended to set Sc hiller's
"Ode to J oy " to music, and after much time , had finally incorporated it into
the fin al movement of his last symphony. It was at this huge ly successful
concert that Beethoven was turned a r ound by one of the s oloists to see the
audi ence's great response . A second performance was arr anged, but the hall
was not full, and a financial los s was suffered. Beethoven had been ver y
anxious to get some money for Karl a nd he was greatly dis appointed. He
again quarreled with fri ends, this time Schindle r and others, accusing the m
of c heating him .
By now Beethoven was so eager for money that he was playi ng off one
London, for which he was to be paid 800 pounds , but this project was finally
given up .
wrot e the three last quartets at the instigation of a Russian noblem a n, Prince
Gneixendorf for the summe r. Beethoven was already ill , and after a return
10Rudall, p. 140.
11
trip to Vienna in the fall, fell ill with pneumonia. When he was just recover-
ing from this, dropsy and jaundice afflicted him. He had only inadequate
doctors, but finally Dr. Malfatti, with whom he had previously quarreled, was
persuaded to come. Schindler a ls o r eturned, but it was too late. On March 26,
during a thunderstorm , Beethoven died with his hand raised and fist clenched
as if in defia nce .
days l ater. Beethoven was recognized already in his own day as one of the
is written in the c har a cteristi c sonata-all egr o form . The usu a l order of the
I. All egro
II . Andante or Adagio
IV . All egro.
B . Developm ent
C. R ec apitulation
gr oups a r e presented . The first or princ iple th e me ofte n has sha rp contours
and le nds itself well to the ma tic development. This them e is followed by a
generally written in the dominant key , or, if the piece is in a minor key, in
the rela tive major. It is usually a more lyric melody and has softer, more
flexible lines . The first theme often has great leaps in the melodic line ,
while the second usually has smaller intervals. The c losing group a lso is
working out of the themes as presented in the exposition. Since the aim of
this section is to return to the main theme in the origina l key for the recapit-
ula tion, this key is not strongly ma rke d . Instead, free modula tion is the rul e .
Any theme or part of a theme may be used in any order in this sec tion.
The third part is in the main a repetition of the exposition, with the
exception that all the themes are now presented in the tonic key . Because the
second theme group is now in a different key from that of its first appearance,
the transition between the first and second gr oups must be c ha nge d t o accom -
modate this. In addition, there a r e a lmost a lways minor changes made in this
The coda is an a ppendage at the end of the m ovem ent, which may or
may not appear. A coda may either e laborate upon the principle theme once
some cases it may be so e nla rged as to become a new deve lopm ent section and
a fourth part .
If a sonata has only three move ments , the middle one will usually be a
slow piece, an andante, adagio, larghe tto, or a largo. Among the forms it
and variations .
a nd the fugu e. Usually this movement is straight-forward and less inte rrupte d
12 Leichtentritt, p . 160.
15
variation, which aims at brilliance and virtuosity, but retains the harmonic
basis of the theme, dissolving the melodic line into figurations, passage work,
and weaves itself around the theme in fa nciful ornamentation. The other type
mation. This type of variation transforms the theme into something entirely
new, gives it a totally different character. It strays away from the theme
U one may call the ornamental variation concentric, then the charac-
mingle the two styles . The older type of variation is almost a lways orna-
mental in character and lasts well into the nineteenth century. Contrapuntal
var iations had been practiced in organ music of the seventeenth century. The
forms of basso ostinato, chaconne, and pass acaglia are of this type. The
13Leichtentritt, p. 95.
14
Ibid . • p. 97.
16
followed by a fast one, or in groups that have some similarity contrasted with
anoth er different group tha t stresses anoth er quality. The fina l variation
often r eturns to the theme a nd has a coda. Often a fugue is used in the coda .
theme . It is heard at least three times . A rondo theme is neither too weighty
nor too light. It is usua lly flowing and e lastic a nd is often in a three-part
var iation.
are the contrasting themes in the sonata-allegro form . Thes e ep isodes are
the epis odes contain entire ly new material , and are thematically more or less
independe nt.
cadence . But in later compos itions the theme enters gradu.a lly into the
15 Le ichtentritt, p. 103 .
16
Ibid .• p, 118 .
17
Minuet-scherzo
teenth century . The time is always 3/4 and the tempo is r ather s low. The
minuet is usu ally in a three-part form with the first part as the minuet
proper, the second part the trio, and the last part a literal repetition of the
minuet . Often there is a n added coda . Each part is subdivided in the style
The s cher zo differs from the minu et mainly in character, not in form.
Jest and humor ar e its chief attributes. Where the minuet is measured in a
deliberat e pace, th e scherzo passes beyond the dance into rapid running , into
Beethoven does not us e the fugu e in his early sonatas. The fugue is an older
polyphonic form, and is built on one main theme which is transferred to dif-
ferent voices. Ther e are usually three to five voic es. A fugue theme is
17Leichtentritt, p. 58.
18 Ibid ., p, 63.
18
A fugue begins with the theme in one voice alone in the tonic key.
After this initial presentation, another voice enters with the theme in the
dominant while the first voice continu es with a counterpoint. The voices con-
tinue to enter in the same manner with the others continuing the counterpoint.
When a ll have entered with the theme, the first part, the exposition, closes.
There are usually two other sets of entries during the piece. The last time
succeeding voices enter before the previous ones have completed the theme .
Between the three main sections are found episodes in which the theme
itself is not heard, but motifs of the theme are developed or worked out
thematically.
Early Sources
The sonata form had its probable beginnings in the early sixteenth
century musica l forms. At this time, most of the music was vocal a nd pr e-
dominantly church music. Madrigals were the main vocal form, and the
music was polyphonic. When the madrigals became too complicated for voice,
some of the parts were played by viols . Composers then probably decided to
have the viols play by themselves . This purely instrumental music beca me
the canzona, which was a form used on i nto the eighteenth century. Th e can-
Anothe r early form was a source of the sonata . This form was us ed
in dances and songs such as the branle . It had two parts , each of which is
divided into two sections. The first section is divided a lmost equally between
that which tends toward the tonic, and th a t which tends toward the dominant.
conc ludes with a r estatement of the conclusion of the first half, bringing a bout
a unity to the whol e piece. Many examples of such forms are found in the old
dance tunes of the sixteenth century, a nd also other melodies such as the
The name sonata was probably adopted as the antithesis of the cantata,
which had become a popular vocal form of the time. The word is first noted
about the end of the sixteenth century . Charles Burney says that the earliest
pieces called sonatas that he had discovered, were those of Turini, publis hed
in 1624. These, however, merely followed the pattern of the can zona one
The influence of dance music was very important upon the early sonata
or canzona . The various dance rhythms, as they were used in the early
sonata, were compounded rather than kept distinct as in the different dance
23
forms. Occasionally, the developing sonata was confused with a collection
of dance tunes, th e latter being call ed a sonata, but there seems to have been
Another great influence that was felt by the sonata was that of the
opera and the drama. Two ideas were contributed by them. One was the
short passage of instrumental prelude or interlude, and the other was obtained
from the vocal portions of the drama . The latter produced a vague a nd
24
Ibid.
21
talism of the church and by oper atic decla ma tion , as well a s by th e influence
sonatas. His sonatas seem to li e half way between the fugu e and the sonata
form . He attempts to balance the subjects and to distribute the key and sub-
ject. In most of his sonata movements he alternates two chara cteristic groups
been published , including both the Senate da chiesa, or church sonata, and the
usually four move ments , beginning with a slow movement and alternating slow
is rather slow and dignified . In the church sonata the second movement is
is often a dance , such as the all emande or the courante. The third movement
is the only one in a different key and is often in 3/2 time. It is generally
The church sonata seems more strictly abstract, then, than the
chamber sonata, which is often indistinguishable from the suite . Corell! 's
sonata movements often repeat, at the conc lusion, the theme from the end of
the first part, a practice similar to that used in the old dance tunes or branles.
Composers seemed to feel at tbat time that what one hears last is remembered
longer and brings about more continuity than what one hears first.
During the time from about 1600 to 1725, instrumental music was thus
evo lving from a style similar to th e vocal music of the time to a more a bstract
Many of the violin sonatas of this period follow the example of Carelli .
(1692-1770) monopolized the sonata form for a long while. They began to
build upon the structural outlines , except for the second movement which
remained fairly stationary as a slow song form . Many of the examples of the
early violin sonatas which began to resemble the later-called first movement
theme which modulates to a relative key and a conclusion of the first half in
that key . The second half begins with a section corresponding to a develop-
ment section, a nd concludes with a repetition of the first theme and features
Two types of form appeared , one in which the first subject appears in
a complementary key at the beginning of the first ha lf, and one in whic h the
fi rst s ubj ect does not appear until after the working-out s ection.
Bach a nd Hande l
The vio lin sonatas of Joha nn Sebastia n Bach (1685-1750) follow this
writing a nd a prima r y form which has a long principle section in the main key,
Some are like the bra nle , others like a sort of rondo .
Scarlatti
part of th e first half of his sonatas tha n to the first, as did Corelli, and it is
usually that part that is r epeated a t the end of the movement . The start of the
the first U1 e m e of the move ment . Scar latti's music principles are mor e mod-
writes fugues. Most of Scarlatti's sonatas are complete in one short move -
C. P. E. Bach
reach a high pitch of development. They often incorporate both the old form
of recapitulating the first theme to begin the second half of the movement, and
a newer idea of presenting it again near the close, after the development.
monic and less fugal. In his sonatas a r e a number of figures and subjects
With Haydn, the sonata form becam e a ll-important. His use of deci-
is his use of the coda, which became very frequent later on. This use seems
to have begun in the varying of cadences, either by alluding to the earlier sub-
jects adapted to the cadences, or by using a new figure standing on the same
present d in a new way. Modul ation is rare, since the intent is to strengthen
the feeling of the principle key. The short coda-like figure is placed at the
end of the first half of the movement. The coda at the end of the movement
was begun as a more decisive ending after the last half of the movement was
repeated. 31
Before Haydn, the use of tunes in serious music was quite r are, but in
Haydn's music this becomes a common practicea 2 Haydn is also the first
noted composer to use the rondo form with frequency. His subjects ar e ofte n
simple, but his development is always ingenious. Some of his repeats of the
ments are in the same key. In later ones he uses the subdominant key .
Haydn was in time, the time in which Haydn had settled the form on a definite
33
basis. Mozart was not an innovator and did not elaborate his forms. He
33 Ibid . , p. 825.
26
in the perfect symmetry of his best works . Both Haydn and Mozart place
brill iant passages between the themes to mark the cadences, and thus better
fuller combinations of sounds, and occasional passages which bring into play
stronger muscles than just the fingers . Clementi adhered to the accepted
Beethoven
By the time Ludwig van Beethoven (1770 - 1827) appears, the sonata
35 Ibid .• p , 826.
27
themes and subjects at the appr opriate time, he used it as a hidden mode in
which to place his most impressive thoughts. His ideas became just as im-
portant as the form, if not more so; thus, Beethoven's works are not so con-
His "idea" becomes mor e all - inclusive; not just to have contrasting
themes which are compatible, but rather a whole movement or even a whole
sonata itself becomes the idea with a ll of its parts in close affinity. 36
character, by the use of phrases which are either parts of the main the me, or
well- ma rked. (2) He us ed new themes both in addition to the two m a in sub-
jects, and in the development section. (3) fn the cas e of a s low introduction,
Beethoven, is a lmost a new creation. (5) Beethoven used many more dynamic
and expression marks than did his predecessors. (6) He used variations to a
great extent, and (7) he broke down the key system somewhat.3 7
In the words of Sir Hubert P a rry on Beethoven and the sonata form,
"With him the long process of development a ppears to find its utmos t a nd
complete culmination; a nd what comes after, and in sight of his work, can be
similar to the pattern used by Haydn and Mozart. Nine of the first seventeen
sonatas have four movements ; the other eight have three movements
major keys vary more in their key relationships than do those in minor keys .
sonata in the subdominant key . However, only four of the first twe lve sonatas
in major keys use the subdominnnt key (IV) in the second movement . Begin-
ning with the third sonata, Opus 2, number 3, Beethoven often uses other keys .
Here he uses the mediant major (ill). In other instances, be uses the sub-
mediant major (VI) once, the submediant minor (vi) once and the parallel
minor (i) five times. In a ll these sonatas but one, the remaining movements
are in the original key. This exception is Opus 27, number 1, which has the
second movement in the submediant and the third in the subdominant key.
The sonatas in minor keys are more uniform with regard to key rela-
tionships. Of the first five sonatas in minor keys , three have the second
movement in the relative major (VI). The other two use the parallel major (I)
30
for the second movement. Again the remaining movements retain the original
key .
All except three of the sonatas begin with a sonata-allegro moveme nt.
sonata-allegro form, five of which appear as the second movement and five as
the last movement. Two sonatas , Opus 26 and Opus 27, numbe r 1, have no
sonata-allegro form.
without exception the key struct1,1re used by Haydn and Mozart. When the first
theme group is in a minor key , the second theme group is in the relative
major or the dominant minor. When th e first group is in a major key , the
second is most often (12 times) in the dominant major key. In only two move-
Only one sonata, Opus 27, number 2, begins with a slow movement . This is a
real departure from the usual design of a sonata. In this work the only
Opus 10, number 2; Opus 14, number 1; Opus 14, number 2; a nd Opus 26,
second, but in Opus 27, number 1, it is the third movement . Six of the slow
ner, such as using a long episode in place of the development, as in Opus 10,
also may be modified, and may include e lem ents of both the sonata a nd the
rondo, as in Opus 27, number 1 and Opus 31, number 1. Here a sort of
this instance, there is a theme with three variations. The later occurrenc e
The three sonatas which differ most from the others are successive
ones , Opus 26; Opus 27, number 1; and Opus 27, number 2.
theme. These are very delightful and are followed by a short coda with a new
theme. The second movement is a scherzo and trio, also in Ap. The third
solemn march with a trio and a r epetition of the march. It is written in the
r el ative minor of Cp, a rather little-us ed key of seven flats. The l as t move-
sonata.
s imilar to a rondo, but it l acks th e r egula r trans itional pass ages. The second
episode. Th e sonata closes with a rec apitula tion of the s low movem ent theme
now transposed to E~, foll owed by a fin a l short Presto. This sonata, then ,
"Moonlight Sonata, " begins with the fa mous slow movement with the beautiful
ly ric , continuous melody . The mov e ment r eally does not follow a ny of the
a nd r ecapitul ation. The second move ment is actua lly written in the paralle l
major, but it is notated enharmonic ally as D)> major. This is a lyric da capo
movem ent a nd has a little faster tempo . The fin al move ment, which is very
In his first sonata, Beethoven already is using an unusu al key for his
time-F minor, with four flats . In other sonatas, he writes othe r littl e-us ed
keys , s uch a s the Cb minor as already noted. The earli er sonatas a re more
c la ssical in sty le, whereas th e later ones are beginning to be quite romantic.
beautiful , but more shallow, and have mor e ornamentation in the Mozartian
style. In the second move m ent of the D major sonata, Opus 10, number 3,
As has also been noted, Beethoven departs from the basic sonata form
more in the later sonatas of the first seventeen than in the early ones . He
begins to use longer codas more often in these later ones. But as ear ly as
Opus 2, number 3, in the first mov e ment, he has a long coda with a sort of
cadenza l asting from measure 218 to measure 257. The final movement of
this sonata also has a rather long coda. Especially long codas a re found also
in Opus 10, number 3; Opus 27, number 2; and in Opus 31, numbers 1 and 2.
These codas might be called second developments for the most part, since
they e labor ate on themes from the main part of the movement.
The C minor sonata, Opus 13, the Pathetique, is a good example of the
introduction here .
The sonata form is most probably the most important of all the musica l
work with, yet it does not limit his ideas . Since its beginnings, it has shown
such as the concerto, the symphony, and the various chamber music forms.
composers.
it exceptionally well in all of its different applications. Yet the form did not
hinder or bend his ideas to conform to the structure. He was able to use it to
express his greatest thoughts . He could present more within this framework
than probably anyone before him or since. He did not have the gift for melody
34
that Mozart or Schubert had, but his genius and hard work let him use to the
In studying these sonatas, one can gain much knowledge about the
various forms used in a sonata, and how they can best be employed. One
learns the great versatility of the sonata form when one sees the various types
of feeling and moods that can be incorporated into a sonata. One gains a great
13. Opus 27, no . 1 E~ major C minor (i) Ap major (IV) Ep m ajor (I)
Form Sonata
2. Opus 2, number 2
3. Opus 2, number 3
4. Opus 7
8. Opus 13
11. Opus 22
15 . Opus 28
Form Sonata
11. Opus 22
12. Opus 26
15. Opus 28
3. Opus 2, number 3
8. Opus 13
Form Sonata
2. Opus 2 , number 2
3. Opus 2, numbe r 3
4. Opus 7
11. Opus 22
15 . Opus 28
Form Sonata
4. Opus 7
7 . Opus 10 , number 3
B. Opus 13
11. Opus 22
12. Opus 26
15. Opus 28
LITERATURE CITED
Schauffler, Robert Haven. Beethoven: The Man Who Freed Music. Garden
City, N. Y.: Doubleday, Doran and Company, Inc., 1937 .